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Structure and Style, first published in 1962 and expanded in 1979, fills the need for new ways of analysis that put 20th-century music in perspective. It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician, and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony) and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at DePaul University and was associated with its School of Music as director of the Graduate Division and chairman of the Department of Theory and Composition until his retirement in 1976. He has composed a wide variety of works, including compositions for orchestra, chamber combinations, two operas, and a violin concerto.
Six staples of the orchestral repertoire reprinted from the authoritative Breitkopf & Härtel edition. Overture to Coriolanus, Op. 62; Leonore Overture, No. 1, Op. 138; Leonore Overture, No. 2, Op. 77; Leonore Overture, No. 3, Op. 72; Overture to Fidelio, Op. 72; Overture to Egmont, Op. 84. Convenient, accurate, affordable.
A great movie’s first few minutes provide the key to the rest of the film. Like the opening paragraphs of a novel, they draw the viewer in, setting up the thematic concerns and stylistic approach that will be developed over the course of the narrative. A strong opening sequence leads the viewer to trust the filmmakers. Other times, opening shots are intentionally misleading as they invite alert, active participation with the film. In Cinematic Overtures, Annette Insdorf discusses the opening sequence so that viewers turn first impressions into deeper understanding of cinematic technique. From Joe Gillis’s voice-over in Sunset Boulevard as he lies dead in a swimming pool to the hallucinat...
The first comprehensive study of musical form in operatic and concert overtures in continental Europe between 1815 and 1850.
The dramatic overture had its beginnings in Renaissance court entertainments, which often began with a flourish of trumpets. It reached a high point of inspiration in the overtures that George Frideric Handel (1685 1759) composed for his operas and oratorios. This volume presents 60 Handel overtures and sinfonias, originally scored for orchestra, superbly arranged for solo keyboard. They have been reprinted from an extremely rare edition originally printed, probably in the 1750s, by Handel's London publisher, John Walsh. Happily, these brilliant works have lost nothing in translation of their Handelian vitality and interest. Many of them, such as the overtures to "Messiah, Acis and Galatea, ...